In Cataratas, Cristina de Middel offers a critical reflection on the way we see—or believe we see—the world, particularly in relation to Africa. A waterfall clouds our vision, blurs the contours and turns looking into an uncertain act. In a present saturated with images, where photography has lost its aura of truth to navigate between overexposure and suspicion, de Middel chooses to embrace blurring as part of the creative process.

The exhibition is structured around a selection of works from several of the artist’s iconic series—The Afronauts, Midnight at the Crossroads, Funmilayo, Mirador, and This is What Hatred Did—which challenge colonial imaginaries, dominant media narratives, and the stereotypes that have historically constrained the representation of the African continent.

Far from offering definitive answers, these images act as fragmentary gestures, open visual questions that point to the limits of our perspective. The “cataract” in the title alludes both to cultural opacity and to the relentless torrent of images that shape our perception. In this context, accepting that limit becomes the first step toward seeing—and understanding—differently.

Iván Forcadell positions himself between the autobiographical, the rural, and the symbolically everyday in "No título".

Far from offering a closed thematic axis, the exhibition is constructed as an open invitation to the viewer. The artist himself defines it as a space without a fixed center, where tradition, the countryside, nature, folklore, community, life, and death coexist. These elements, more than intellectual concepts, are an essential part of his emotional biography and his aesthetic universe.

Forcadell proposes a perspective free of curatorial labels, opting for a direct and intuitive experience with the work. Rather than imposing a specific reading, No título suggests that each visitor complete the void of the title with their own associations, feelings, and memories. The exhibition thus becomes a fertile ground for interpretation, where the personal mixes with the collective, and the popular with the poetic.